Open Space for Choreographic Development
Aabent Rum (Open Space) is a space for choreographic development curated by Aaben Dans.
Through a thorough selection process, Aaben Dans invites three choreographic artists to work in the theatre on their artistic work. There are no limits for what the artists can work with – they decide what makes sense for them, according to where they are in their respective career. Over the course of Aabent Rum, Aaben Dans’ role is that of an observer and guide for the choreographers.
In order for the artists to have a peaceful work environment, they are granted a fee as well as a smaller budget, which can also support their work. They can either choose to spend the money on getting a supervisor, hire a dancer, create a scenography, take a field trip, buy tickets for other shows, or in other way examine and dive into their artistic work.
The artists are selected according to the following criteria:
They should be at the beginning of their professional career, possess an artistic/aesthetic core and drive, create from the heart and live in Denmark.
The duration of the collaboration between the artists and Aaben Dans is one and a half years, during which the choreographers have periodic access to the stage. Furthermore, they should use each other to give and receive constructive feedback as well as use the artistic, organisational skills provided by the Aaben Dans staff.
In exchange, the choreographers are to provide artistic inspiration – for Aaben Dans, for the professional network and for the local audience with small-scale performances, interventions, workshops, symposiums, digital or other public events.
Within the space of Aaben Rum, the sky is the limit when it comes to the artistic development of choreography.
WHAT THE ARTISTS ARE WORKING WITH
2019 – 2020:
I am working on my solo performance “The Laughing Game”. With the help and inspiration of Feldenkrais and various techniques of mediation, I define and examine the material of movement. I am interested in how these two techniques can nurture my choreographic work and help create a space, where the audience is drawn into their own bodies through my movement.
As a participant at Aabent Rum, Georgia will focus on a subject, that is very close to her professional work. For the past couple of years, the term decolonisation has been at the core of her artistic and academic work and will also be the foundation for her residency at Aaben Dans.
Georgia will examine and (re)think the political connotations, that can be implied through choreographic works. From that perspective, she will examine the creation of choreography by using different schools of thought originating from the term decolonisation . She will be working on this in relation to the development of a solo performance (betwixt and between – see video on the top of the page) and a group dance performance (Staging a State).
Anna Lea Ourø og Amalia Kasakove
Since 2018 we have been working on a trilogy of works addressing how dance can hold a space for loss. Just ok is research that follows our latest performance Sure as its sibling piece. So far, Just ok has been researched in an old coastline bunker that served as protection against war and is now taken over by surrounding nature, and in a nonoperational iron mine in Sweden that ceased operation in the 1970’s. Both these sites operate in isolation and have a sense of remoteness and absence to them. These decaying sites have initiated the thinking through such words as zombie material. Since then we have continued the research of the piece at HAUT, at their festival Y Choreography and residency program Eksil, and as invited artists of Aabent Rum. The research addresses the grim prospects of the world; alongside personal losses, we are facing the largest displacement of people and the occurrence of natural disasters. Just ok speaks of zombies as ecological and political figures. The zombie works as a metaphor for the transitory state where we keep on living while we witness the erosion of our planet. It is a figure that helps us think through this living-dead material, considering the slippery border between when something is actually living and when dying. The research considers these prospects, the non-living and living-dead agents, and sees how it can shape its choreography. This tranced sequel will work in the form of hollowing and letting these (non-)living remains, ghosts and losses seep through the material.